The Invisible Man
The Invisible Mantakes the rootage of H.G. Wells ' celebrated fiend myth and hands the reigns of the narrative over to his dupe . The forthcoming adaptation from Universal and Blumhouse production , out in theaters on February 28 , follows a woman named Cecilia ( Elisabeth Moss ) who is being stalked by her purportedly dead ex .
so as to craft the suspenseful story , director and screenwriter Leigh Whannell sat down with his lead actress to get her position on violence against women in real life . Moss is no stranger to write up of either horror or dystopia , having antecedently prune her teeth on the ilk ofUsandThe Handmaid ’s Tale . And ifthe trailers are anythingto go by , this in vogue thriller rest heavily on her able shoulder .
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latterly , she chatted with Screen Rant about the importance ofThe Invisible Man ’s collaborative mental process and why she finds cerebral horror films so engrossing .
Congratulations onThe Invisible Man ; you gave a mythical performance . Leigh , when I spoke to him , credited you with giving him a lot of perspective on the cinema . Was it like for you having to embody a reference that really runs the gamut from total victimhood to really taking control of her life ?
Elisabeth Moss : Yeah , he was really wise about understanding that he had written this incredible script that we all want to do , and he already had this female fictional character that was really interesting and fleshed out and layered . But he also , of course , was the first mortal to say , " I ’m not a char . What do you have ? What is your perspective ? What is your distributor point of view here ? What can you lend to this ? " And allowed me to do that - allow me , you roll in the hay what I mean .
Rightly so , he ask for my opinion . And we would sit , and we would write , and we would spitball ideas . I would talk about my experiences , and he would spill the beans about his , and we really crafted some of the more emotionally kind of fraught material .
On the strong-arm side of things , you have a stunt double and also have to work with an unseeable humanity . What is it like having to craft those scene and share the blank with someone that ’s not there in a direction ?
Elisabeth Moss : Well , we practice the big battle scene and we dissipate it at the ending of the film . We put it at the last of the schedule , so that we had all of that fourth dimension to practice it , and it very specifically worked out . There ’s a motion control photographic camera that we were using , and it ’s very , very specific .
The photographic camera is going to go where it want to go ; where it ’s been programmed to go . It ’s not abide by you , you ’re following it . So , it was a very specifically done . I wreak with the stunt double a lot , Ollie ’s stunt double , and then I had a wonderful stunt doubly who did the middle part where she gets throw over the table . Her name is Sarah [ Laidler ] , and she ’s awe-inspiring . And then I did the rest of it ; the other two parts . We practiced it so much that , by the time we get there , we were ready to go .
You also were inUslast yr , another fabulous repulsion moving-picture show . They ’re both very cerebral , societal message - character of horror . Is that your favorite kind ? What are your horror inspirations ?
Elisabeth Moss : I think it ’s everyone ’s favorite kind , proper ? I mean , I feel like that ’s why it kind of came back and became so democratic . That ’s what sort of they were doing in the 70s and 80s , withThe Shiningand with Poltergeist andThe exorciser . They all have these deeper themes going on that you have to take out .
And then latterly , what ’s happened with Jordan Peel ’s work , and a few others . This is what the consultation wants . The consultation is pretty smart , and they want to be toy with , but they also want to recall . And they do n’t want to be talked down to . So , I think that ’s why these films have kind of come back now .
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